Test material for the Department of Composition, Conducting and Theory of Music

BA Stud­ies

Major: CONDUCTING (intra­mural studies)

Spe­cialty: Sym­phony and Opera Conducting

• Aural train­ing and basics of study of instru­ments — oral
  • test of pitch and har­monic ear, sense of rhythm, musi­cal mem­ory and imag­i­na­tion, intrin­sic hear­ing;
    singing at sight pro­fi­ciency, cor­rect into­na­tion, rhyth­mic pre­ci­sion, musi­cal­ity, nam­ing chord posi­tions and inver­sions, the abil­ity to cor­rect errors in three– and four-voice con­fig­u­ra­tions imme­di­ately and to react promptly to all sound phenomena
  • test of pro­fi­ciency in aural analy­sis of musi­cal works and iden­ti­fi­ca­tion of the dif­fer­en­tial musi­cal lan­guage fea­tures of var­i­ous gen­res, epochs and com­posers;
    the abil­ity to recog­nise the sounds of dif­fer­ent instru­ments in their entire scale in solo, cham­ber and orches­tra works, includ­ing har­monic hear­ing pro­fi­ciency and the abil­ity to cor­rect bad into­na­tion in singers or bad instru­ment tun­ing;
    knowl­edge of musi­cal and per­for­mance styles
  • basics of Study of Instru­ments — oral
    scales, trans­po­si­tions, speci­ficity of orches­tra instru­ments (books: K. Siko­rski, M. Drobner).
• Piano
  • one study, one poly­phonic piece, one clas­si­cal and roman­tic or mod­ern piece, score read­ing a vista.

Major: COMPOSITION AND THEORY OF MUSIC (intra­mural studies)

Spe­cialty: Composition

• Aural Train­ing and Har­mony — oral
  • per­cep­tion of inter­vals, tri­ads and four note chords; musi­cal mem­ory and imag­i­na­tion; analy­sis of poly­phonic melodic/harmonic pas­sage; error cor­rec­tion in three– and four-voice con­fig­u­ra­tions; singing at sight
  • prac­ti­cal ren­der­ing of func­tional nota­tions and ren­der­ing of fig­ured bass; melody har­mon­i­sa­tion with pos­si­ble appli­ca­tion of any piano accom­pa­ni­ment; play­ing caden­zas; chord solu­tion (includ­ing inflected and char­ac­ter­is­tic chords); pro­gres­sion ren­der­ing; har­mon­i­sa­tion of the major scale (up to 4 acci­den­tals); play­ing dia­tonic, chro­matic and enhar­monic mod­u­la­tions; har­monic analy­sis of musi­cal examples
• Piano
  • per­for­mance of two pieces (one poly­phonic piece and one piece of the can­di­dates choice); score read­ing a vista

Spe­cialty: The­ory of Music

• Aural Train­ing
  • writ­ten and oral — musi­cal mem­ory and imag­i­na­tion test, score voice reading.
• Har­mony
  • writ­ten and oral — prac­ti­cal exam­i­na­tion with the piano — real­i­sa­tion of func­tional nota­tions, har­mon­i­sa­tion of a melody in soprano or bass, play­ing a cadence, pro­gres­sion, dia­tonic, chro­matic and enhar­monic mod­u­la­tion, resolv­ing char­ac­ter­is­tic chords, har­mon­i­sa­tion of major and minor scales (melodic), har­monic analysis.
• Forms and Analy­sis of a Work of Music
  • oral — the abil­ity to analyse a short baroque, clas­si­cal, roman­tic or 20th cen­tury work of music on the basis of the score, in piano tex­ture. The gen­eral prin­ci­ples of con­struc­tion of musi­cal forms, such as: poly­phonic forms, sonata alle­gro, rondo, vari­a­tions, cyclic forms, with ref­er­ence to the musi­cal literature.

MA Stud­ies

From the Aca­d­e­mic Year 2010/2011 there is an option to widen one’s MA Stud­ies with the Mul­ti­me­dia Pro­gram for stu­dents of the sec­ond degree stud­ies major­ing in Com­po­si­tion and The­ory of Music (Spe­cial­ties: Com­po­si­tion, The­ory of Music) at the FCUM. Stu­dents will be qual­i­fied to par­tic­i­pate in the Mul­ti­me­dia Pro­gram widen­ing the cho­sen Major of Stud­ies on the basis of their pre­lim­i­nary dec­la­ra­tions, dis­trib­uted among the can­di­dates for the sec­ond degree stud­ies and a qual­i­fy­ing test.
Detailed infor­ma­tion about the pos­si­bil­ity to use the above men­tioned widen­ing options in the aca­d­e­mic year of 2012/2013 will be given later on (in April 2012).

Major: CONDUCTING (intra­mural studies)

Spe­cialty: Sym­phony and Opera Conducting

• Con­duct­ing — one of three pre­pared pieces from three his­tor­i­cal peri­ods (the exam­i­na­tion com­mit­tee chooses the frag­ments of works for the can­di­date to conduct).

• Score Read­ing — read­ing a vista in dif­fer­ent clefs and transpositions

• Aural Train­ing – oral — test of pitch and har­monic ear, sense of rhythm, musi­cal mem­ory and imag­i­na­tion, singing at sight pro­fi­ciency and error correction.

Major: COMPOSITION AND THEORY OF MUSIC (intra­mural studies)

Spe­cialty: Composition

• review of 5 com­po­si­tions sub­mit­ted in order to be graded by the exam­i­na­tion com­mit­tee and an interview

Spe­cialty: The­ory of Music

• The­ory of Music (oral) — Knowl­edge about the­ory of music form and syntax
• His­tory of Music (oral) — Knowl­edge about processes and style changes tak­ing place in his­tory of music with spe­cial atten­tion to con­tem­po­rary music
• Music Cul­ture (oral) — Test of the candidate’s knowl­edge about cur­rent musi­cal events with spe­cial atten­tion to Pol­ish con­tem­po­rary music culture